Containing an abundance of music, art, and text, Shackleton’s latest release is a lot to take in, and the relationship between the various objects housed within is hardly explicit.
Two lone wolves, Shackleton and Pinch, come together to blend their bass weighted sensibilities into an unsettling LP, Pinch & Shackleton.
As a live set of all original material, Fabric 55 bears most obvious resemblance to landmark entries by Omar-S or Villalobos and hews closer to indelibility than your regular mix CD.
This week’s download comes care of bass music’s most compelling outlier, Shackleton.
Today London’s beloved superclub, Fabric, announced that it’s house is once again in order and banished woeful tales of administration. In case you need proof that it’s business as usual, check out the line up for July 3rd: Room one hosts The Nothing Special, with live performances by Shackleton, Pole, and Deadbeat, and a DJ [...]
It seems once again artists have looked past shriveling album sales and pooh poohed format worries while creating a truly outstanding crop of longplayers. Whether exploring the sinews connecting electronic music and jazz, amalgamating traditional African and house sounds, gearing up a set of club bangers or diving into unknown recesses in listeners’ heads, the 10 albums LWE’s reviewing staff chose represent the best 2009 had to offer.
Despite his dubstep pedigree, Sam Shackleton’s association with Perlon really hasn’t raised many eyebrows. “Blood On My Hands,” his seminal 9/11 anti-anthem caned by Cassy and eventually remixed to mindblowing effect by Ricardo Villalobos, introduced the minimal scarf-wearing set to the British producer’s tribal, ethereal take on bass music. By the time Shackleton returned Villalobos’s favor with his labyrinthine, original-besting take on “Minimoonstar” for Perlon in 2008, the technoid wing of dubstep — thanks in no small part to the Shack’s beefed-up Muslimgauze breaks — had already burrowed itself so deeply into techno that Shackleton actually felt like a logical and hardly controversial addition to Zip’s and Markus Nikolai’s fabled roster.
Moderat’s album came and went, sounding exactly as everyone had expected while still being a successful and fully satisfying listen. Less successful, however, was the first round of remixes for obvious lead single “Rusty Nails.” TRG fashioned a peaktime remix that was perhaps too much so, while Booka Shade’s version was a thoughtless tech-house workout. Lucky for us, the Fifty Weapons imprint comes up with the “Unofficial” remixes on a limited, stamped white label that give two Moderat’s originals truly exceptional overhauls.
Of the new generation of dubstep producers, Sam Shackleton has proven himself to be the most receptive to crossing over with other genres in a mutually back-scratching manner. After famously remixing and being remixed by Ricardo Villalobos, Shackleton has more favors returned here. Reprising a combo first seen on last year’s Steingarten remixes project, Shackleton has two tracks from his forthcoming Skull Disco full-length remixed by Pole and Peverelist for a special vinyl release from ~scape, furthering the cross-pollination efforts.
[Skull Disco] Shackleton is consistent. Starting with the first pop of a drum on his singles, the percussion stays round and full, the bass cascades with uncanny depth, the space between is frigid. Shackleton’s sound is dark, opaque. From the elegiac wind blasts of “Blood on my Hands” to the outright menace of “Hypno Angel,” [...]
[Wichita] Those Simian boys sure know how to call in a favor, eh? So far, their singles have been remixed by Prins Thomas, Switch, Armand Van Helden, Luke Vibert, Riton, Graham Massey of 808 State, and the “Hustler” single extends that to include Kevin Saunderson, Jesse Rose and Shackleton. I didn’t expect to see that [...]